Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
Page numbers in italics refer to figures.
academic periodical:
Corrente as,
145;
Pan resembling,
140–41Adorno, Theodor, and “lexical logic,”
30Alexandria, Egypt, Marinetti and,
122–24anthology:
Little Review disguised as,
84–85;
Poesia as,
129;
riviste in form of,
119–21anticolonialism:
Beacon as device of,
196–97; ignoring,
191; little magazine as tool of,
26; and publishing in India,
68–71; in
VVV,
159,
182–87archives, delinked and nationalized,
31artists’ magazines, global spread of,
282n22avant-garde, dependence on little magazines,
1avant-garde magazines, defined,
315n5
“Banque obscurantiste ‘pour l’etranger,’”
173–74,
174Bengali literature,
67–71Boni and Liveright, printing of
The Waste Land,
101books: and development of African magazines,
201–2;
Exile’s designation,
156; as global business,
195; vs. little magazines,
2–3,
14,
27,
48,
75,
236; vs. technology,
229–30;
Ulysses as,
88–89,
92
Caballero, Ernesto Giménez,
44–46Calcutta literature, modern,
67–71“Canto VIII” (Pound): as epigraph for “Limits,”
222–24,
227; and
The Waste Land,
313n79Cardarelli, Vincenzo,
115Casanova, Pascale: concept of world literature,
13–14; and sociological model,
47–48Central America, and little magazines’ limited appeal in,
11–12“Chinese Written Character as a Medium for Poetry, The” (Fenollosa),
66colonized countries, and
Transition,
25communism, magazines in response to,
111–12comparative approach,
5; circulation as key,
47; geography and timeline expansion,
193; to global network,
71–72; limited by language and interest,
11–12; world form and,
20Congress for Cultural Freedom (CCF),
202–3Corrente di vita giovanile,
144–48; complicated literary politics of,
145–46,
148; interdisciplinary material in,
144–45
covers: back, of
Merz, 54; backdated,
105;
Black Orpheus, 205; Corrente di vita giovanile,
147; Il convegno’s anti-Fascist,
138–39,
298n42;
Le papyrus, 123, 125; Mavo,
63,
284n50;
Pan,
141; Poesia, 128; transatlantic review, 104; Transition, 213customs: and exile magazine,
156–57; as impediments to global mobility,
16
Dadaism,
29; and decentralization,
203–4; grid,
51–59; magazines as art exhibits,
171,
178; and “TSF,”
236–37; and typographical experimentation,
50–51; and wireless technology,
236,
242data, about little magazine networks,
35de Robertis, Giuseppe,
142De Stijl: grid,
52,
53; influence on Bauhaus movement,
282n29
Dial, 4,
25; Eliot’s views,
16,
25,
93–97,
98–99; problems with distribution,
287n9,
287n10,
288n15; transatlantic ambitions of,
81; and transatlantic immobility,
76–79,
99–100
digittle magazines,
29–31,
266–67; digitization and digital, distinctions between,
321n7; effects of remediation,
266disconnection, world of little magazines characterized by,
15,
18–19,
50distribution:
Black Orpheus,
311n46; and Caballero’s theorem,
44; Dial,
287n9,
287n10,
288n15; Futurists’ experimentation with technology,
242–63; vs. location of production,
154–55; maps,
39, 40, 39–46; problematic arrangements,
77–78; tracing,
37.
See also circulation;
shippingdistribution sites: disappearing,
207–8; as promotion,
129–30
East Africa, little magazine in,
212–19economic factors: cost of paper,
165,
303n55; and exile magazines,
162–63; shipping,
169; and transatlantic immobility,
108Egoist, 265: on microfilm,
265;
A Portrait of the Artist as a Young Man serialized in,
89; and transatlantic immobility,
75–76,
79,
81;
Ulysses serialized in,
87,
92
Eliot, T. S.,
25–26,
92–102; anger over changes to
The Waste Land,
100; contribution to
transatlantic review,
103; opinions on
Dial, 16,
25,
93–97,
98–99;
The Waste Land as epigraph,
224–27émigrés, involvement of,
16Eurocentrism,
136; modernism identified with,
191; in Okigbo’s poetry,
220; and Pound,
11; repression in
Blok,
40exchange rate, and exile magazines,
160–61Exile, locations of production,
156–57
exiles and expats,
182–87; involvement of,
16; Surrealists,
178.
See also Beier, Ulli;
Breton, André;
Césaire, Aimé;
Duchamp, Marcel;
Ernst, Max;
Loeb, Harold;
Marinetti, F. T.
Fascism: and anti-Fascist
riviste,
117–20; complicated cultural politics, and
Corrente di vita viovanile,
145–48; flourishing culture before,
116; and Futurist magazines,
260–61; giving rise to exile magazines,
153;
Il convegno, 134,
138–39,
298n42; laws against publications,
139,
143; laws regulating broadcasts,
260–61; magazines in response to,
111–12;
Pan as Fascist cultural renewal,
140,
142;
Primato’s desire to unite under,
148–49Ford, Ford Madox,
102–10; attempt of to bridge Paris, New York, and London,
102–3,
105,
107,
109–10; lateness of
transatlantic review,
105–6form:
Black Orpheus’s,
206–7;
Criterion’s,
97; defined,
21,
22; determining shape of poem,
101–2;
Dial’s characteristics,
95–97,
99; and Internet,
267–69Francophone literature,
205–6free copies, as promotion,
126,
130French
revues, influence on
Le papyrus,
122–25Friedman, Susan Stanford,
47funding: for
Black Orpheus, 204; CCF,
202–3; for digital archives,
31Futurism,
28–29; depicted in photo of Marinetti,
269–71,
272; encouraging new areas,
317n30; experimenting with wireless tactics,
242–63; made possible by
riviste, 230–31; manifesto published in
Poesia,
130–31; Milan and,
121–22; and technology,
50–51; and typographical experimentation,
50-51Futurist magazines: circulation,
243-44; mapped timelines,
248,249, 251, 252, 254, 257; as movement,
247–50,
252-54; number of,
245–46,
315n6,
279n51. See also
Poesia; riviste
geography: adjusting narrative about little magazines,
193; diverse,
3; maps of distribution,
39–46Ghana, moving
Transition to,
218“Global Literary Networks,”
35global modernisms: circulation and,
47; trying to imagine,
8global publishing, and African magazines,
201–2Goethe, Johann Wolfgang, and
weltliteratur,
8–10,
14–15Golden Bough, The (Frazer),
226
Hogarth Press, printing of
The Waste Land,
101homelessness, and exile magazine,
154,
158“Idea of a Literary Review, The” (Eliot),
97–98Il convegno, 23–25,
23,24, 118–118,
132–39; compared to
Pan,
142; as cultural center,
132; end of,
138; identification with
NRF,
134; James Joyce in,
137; number of pages per year,
298n41
“In Italia, all ’estero,” editors’ use of phrase,
114–15India: effect of colonialism,
9; little magazine in,
67–71,
268–69; Western modernism’s arrival,
284–85n54interdisciplinary material, and
Corrente di vita viovanile,
144–45internationalism: and contributors to
Il convegno,
133; vs. homelessness,
158;
Kallol’s, 70–72; modernist writers vs. magazines,
79; of
Poesia, 127–29; striking balance between foreign and domestic literature,
136;
transatlantic review vs.
transitions,
110–12;
Transition, 212,
216–17.
See also transnationalismInternet, changes brought by,
267–69Italy: flourishing culture before Mussolini,
116; modernity suspended by World War II,
115.
See also Fascism;
Milan
Japanese magazines,
19; avant-garde graphic design,
64; background to modernism,
59–62;
Mavo, 59,
62–64; and typographical experimentation,
51journals, and letters,
275
“Kablepoema za okean” (Semenko),
55,
56Kafka, Franz, and alienation of postal service,
41–42Kantō Earthquake, impact on Japanese culture,
61–62Kirschenbaum, Matthew,
21
La gaceta literaria: and literary network theorem,
44–45; visualizations in,
37
“L’allégorie de genre” (Duchamps),
178–80,
179“Lament of the Silent Sisters” (Okigbo),
314n85laws affecting distribution: broadcast,
260–61; French copyright,
83–84; import regulations,
75–76; U.S. copyright,
84–85,
294n79; U.S. shipping,
77laws affecting publication: Fascist,
139,
143; Indian publishing regulations,
68–69; Vernacular Press Act of 1878,
285n58L’esprit nouveau: maps,
40–41,
41; visualizations in,
37
“Lestrygonians” (Joyce),
90letters: value in communication vs. periodical,
9–10,
275n14; importance in conveying information,
275n15“Letters to the Editor,” in
Transition,
214–15“Lettre d’une jolie femme à un monsieur passéiste” (Marinetti),
234,
235literary analysis, global approach to,
8literary clubs, in Barbados,
308n21literary exchange, politics of,
136–37literary field, decommercialized, decapitalized, and decentered,
14literary politics: anticolonialism in
Kallol, 69–71; and
Corrente di vita viovanile, 145–145,
148; and
Il Baretti, 118little magazine(s): categorized,
273n4; defined,
2–4; ephemeral nature of,
264,
319–20n1; homelessness,
154; Indian,
67–71; and “little review,” terms applied to West Indian and African magazines,
307n9; as material object,
21; as medium,
27–32; and national rootedness,
106–8; numbers and diversity of,
2; overview,
1–8; role in world literature,
8–20; transatlantic ambitions of,
80–81; as world form,
20–26.
See also digittle magazines;
dōjinshi; Futurist magazines;
exile magazines;
periodicals;
postcolonial magazines;
riviste; individual titlesLittle Magazine, The (TLM),
268–69
Little Review: Eliot’s reservations about,
292n51; Pound as foreign correspondent to,
82–85; shipping overseas,
76; transatlantic ambitions of,
81;
Ulysses serialized in,
85–92
Lukács, György, and power struggle with Bertolt Brecht,
18
maps: and awareness of limitations in circulation,
43; distribution,
39–46,
39, 41; time and place of
Riviste Futuriste, 248,
249,
251,
252,
254,
257Marinetti, F. T.,
121–33,
269–72,
270, 272; as collaborative editor,
245,
247–49; and Futurists’ opening up to technology,
242–45; as leader of Futurism,
131; and
Le papyrus, 123–26; monitored by Fascists,
260–61; and
Poesia, 126–31; “Telegramma” poems,
235–36; and typographical experimentation,
314n2; and wireless technology,
229–33marketing strategies, of Poesia, 129–30
material forms, defined,
278n38materiality, little magazine as,
21–22Mavo, 19,
59,
62–64; combining Dada, Bauhaus, and Japanese literary culture,
62–63; controversial cover,
284n50
Milan: cultural activities during Fascism,
144; focus on,
121–22; and politics of literary exchange,
136–37;
rivista’s windows into intellectual life in,
149–50modernism: arrival in India,
284–85n54; in Bengali literature,
70; connected to homelessness,
158; dependence on little magazines,
1; immobility as barrier,
79; Milan and,
121–22; and postcolonialism,
26,
190–94,
219–28; promoted in
Solaria, 120–21; “transatlantic axis for,”
75.
See also global modernismsModernism: A Guide to European Literature, 1890–1930 (Bradbury and McFarlane),
194
Mussolini, Benito,
Il convegno as opposition to,
23–24
national specificity, and transnational translatability,
12–13Nazism: giving rise to exile magazines,
153; magazines in response to,
111–12networks: and burden of connectivity,
34; Caballero’s theorem,
44–45; defined,
33,
38; effects of digitization on,
266–67; literary field as,
36; and new communications technologies,
33–34; overview,
32–58; positive and negative spaces,
43; sociological model of circulation,
47–48Nouvelle revue française (NRF),
49,
97,
134
Okigbo, Christopher,
192,
201; desire to appear in
Poetry, 314n85; as modernist and postcolonialist,
220–28
Palm-Wine Drinkard (Tutuola),
202
photographic reproductions, in VVV,
171–73“Plan for Cooperative Organization of Magazines,”
293n66poetry: Aimé Césaire’s,
182–87; Egyptian,
122–24; French,
83–84; Futurist,
232–38; with grid,
55–56; Japanese,
61–62; “Limits,”
220–28; modern and relevant,
126; picture,
241; “A Study of French Modern Poets,”
82–83; “Telegramma
41” and “Telegramma
69,”
235–36;
The Waste Land,
92–102; “Wireless,”
229Poetry of the Revolution (Puchner), manifesto,
20
Portrait of the Artist as a Young Man, A (Joyce), serialized,
89
postcolonial magazines:
Bim and
Kyk-over-al, 198–200; modernism and postcolonial literature,
26,
219–28; overview,
189–94Pound, Ezra: “Canto VIII,”
222–24,
227,
313n79; centrality in little magazine scene,
5–6; dummy magazine,
7; Euro/Anglo-centric vision,
11; and Far East connection,
66–67; as foreign correspondent for
Little Review, 82–85; formula for self-supporting magazine,
288–89n18; on “fugitive publications,
152–53; letter to Theodore Roosevelt,
289n26; and limits of international communication,
113; move from
Little Review to
Dial,
275n17; production location for
Exile, 156–57; and Rabindranath Tagore,
67; transatlantic ambition of,
74–75;
Transatlantic Vortex Monthly, 81–82; and
Ulysses, 85–92; and
weltliteratur,
9Présence africaine, 205–6
Prezzolini, Giuseppe,
164“Prince of Blood” (Matta),
178,
180print technologies: effect on literary production,
11; separate from formal institutions,
22; and wireless technology, interrelated,
232–42production, location of,
154–57propaganda,
riviste as tool,
117publishing: African textbooks,
309n35,
309–10n36; global, and development of African magazines,
201–2; Milan as center of,
121; regulations in India,
68–69
radio broadcasts:
Caribbean Voices,
199–200; Marinetti’s,
261remediation, and remediation in reverse,
27–28reproductions and reprintings,
265–66République mondiale des lettres (Casanova),
47–48
reviews: in
Black Orpheus,
208–10; on
Caribbean Voices,
199; like-minded, as alliances,
130; little,
197; publishing,
130Rome,
Broom published in,
159–60
“Scylla and Charybdis” (Joyce),
90–91Seiichi, Funahashi,
60–61serialization: “Limits,” staggered publication,
220–28; simultaneous,
87;
Ulysses, 85–92; The Waste Land, 100“Shimmy at the Latin Quarter Graveyard” (Micič),
239Shin bungaku kenkyū, reproduction from
Ulysses,
65,
66
simultaneous publication: “Lament of the Drums,”
201;
Ulysses, 87;
The Waste Land,
92–102sociological model of literary network,
47–48South America, and little magazines’ limited appeal,
11–12“Study of French Modern Poets, The” (Pound),
82–84
“Tarzan Is an Expatriate” (Theroux),
214“Telegramma 41” and “Telegramma 69” (Marinetti),
235,
236“tendency,” as cultural connectedness within magazine,
97–98third-world literature, comparative work,
273–74n5timeline, adjusting narrative about little magazines,
193transatlantic immobility,
16; commonality of,
81; cost as factor,
108; and
Criterion, 93–102; and
Dial, 76–76,
93–102; import regulations,
75–76; overview,
74–81; Pound’s ambitions,
81–85; shipping delays,
105; tariffs,
84; and
transatlantic review, 102–12; and
Ulysses, 85–85,
290n33; and
The Waste Land, 92–92,
99–102transatlantic review,
102–12; compared to
transition,
110–12; cover,
104, 105; dating to compensate for shipping,
303n50; end of,
109,
294–95n85; lateness,
105–6,
110; transatlantic ambitions,
81
Transatlantic Vortex Monthly, 6–7
transition (Jolas),
110–12; as forerunner to
Transition,
217; as last exile magazine,
171
transnationalism: little magazine ambitions,
80; and national specificity,
12–13; and simultaneous printings,
87,
92–102Troy, William, on exile magazines,
152–53TSF (telegrafia senza fili),
236–37
typographical experimentation,
28,
314n2; European,
50–51; Japanese,
62;
Il convegno’s industrial,
133–34
Ulysses (Joyce),
80; “Lestrygonians,”
90; “Nausikaa,”
91; “Order and Myth,”
98; plans to bring to United States,
290n33; reproduced passage in
Shin bungaku kenkyū, 65,
66; “Scylla and Charybdis,”
90–91; serialized,
85–92
Waste Land, The (Eliot),
80,
92–102; as epigraph for “Limits,”
224–26; influence on “Canto VIII,”
313n79; shape determined by magazine’s form,
101–2; variations in printings,
100–2
wireless communication, 1910–1940: overview,
232–42; in Italy,
246–62Work in Progress (Joyce),
111
world form: identifying multiplicity of,
13; overview,
20–26world literature,
8–20; difficulty in defining,
274; and Goethe,
8–10World War I: as impediment to Italy’s modernity,
115; and transatlantic immobility,
75–76